Detroit Symphony’s EVP Leaves For Cleveland Institute Of Music

“Paul Hogle, executive vice president of the Detroit Symphony Orchestra since 2010 and a key architect of the organization’s post-strike resurrection, is leaving to become president of the Cleveland Institute of Music. … Hogle, who grew up near Cleveland and saw one of his daughters, a violist, graduate from CIM last year, ends his six-year tenure in Detroit in early July.”

Top Posts From AJBlogs 05.25.16

Things Mingus Revisited (+)
Occasionally, Rifftides reposts something from the past that still has relevance. Charles Mingus is relevant. From August 24, 2007: “2007 is turning out to be a bonanza year for a Charles Mingus sextet that existed …” read more
AJBlog: RiffTides Published 2016-05-25

Frick Flick: CultureGrrl Video Tour of Off-Limits Upstairs Living Quarters at Frick Collection
One of my favorite parts of the Frick Collection’s controversial expansion plans was the commitment to opening to the public the historic upstairs rooms where the Frick clan lived 100 years ago. Now that I’ve … read more
AJBlog: CultureGrrl Published 2016-05-25

In search of lost time
I just finished One-Man Band, the third volume of Simon Callow’s Orson Welles biography. It’s the first new book I’ve read from cover to cover since … read more
AJBlog: About Last Night Published 2016-05-25

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Revived New York City Opera Gets Busy With Its First Full Season

The re-founded company’s plans for 2016-17 look more like what its team had been promising than did this year’s hastily assembled season. There will be only one warhorse, paired with a less-familiar title; the return of a star director (Harold Prince) to a landmark production from the ’80s; the long-delayed New York premiere of a well-known 21st-century opera; and two chamber works, one a Spanish Baroque rarity and the other a “CNN opera”. The new City Opera has even announced its first commission.

The 19-Year-Old Choreographer So Talented That The Royal Ballet Created A Position For Her

“At 11 [Charlotte Edmonds] joined the Royal Ballet School and started choreographing straight away. She is dyslexic and found academic work challenging but she thinks her condition may have helped her choreography. ‘I have to strategise ways to remember things, a lot of visualisation, and that comes in really handy in the studio,’ she says.”